Performing Distinction in Big Banana: Culture at the Margins of Visibility

Central American writers have perceptively engaged with the concept of world literature from their minor positionality. For instance, as implied in the mocking undertone of its title, Roberto Quesada’s Big Banana (2000) deals with being at the edge of the periphery, following a Honduran migrant in the Latin American community in New York. Quesada explores how the protagonist channels his “deseo de mundo”, to use Mariano Siskind’s words, into a strategy of performing distinction to carve out a place for himself in a cosmopolitan society. Compounding “banana republic”—an expression coined by O. Henry, inspired by Honduras—with “The Big Apple”, Big Banana’s title underscores the book’s play with cultural registers and national and worldly identities. The growing scholarship on Central American and U.S. Central American literature has analyzed the novel through the lens of coloniality, the limits of solidarity, the experience of the Central American diaspora, and as “denuncia social”. My article instead traces how cultural productions acquire different valences each time they cross the center–periphery border in the performance of distinction that Big Banana and its protagonist carry out in response to their doubly peripheral position. In other words, this essay is concerned with the novel’s problematic instrumentalization of Western hegemonic culture—both highbrow and commercial popular culture—to make claims of worldliness and carve a space for itself in world literary circuits.